Blog About Films

Dear readers!

We are glad to present you our interlocutor – Andrey Iskanova, versatily presented film director, the photographer, the artist and the writer from Khabarovsk, the representative of independent art of "underground". Unfortunately, its full-length tapes "Nails" and «Visions of horrors» did not leave on licence DVD in Russia ("Nails" have been let out only on VHS, and now are a curiosity), however have been published in the USA in director's, нецензурированной versions. Not having received a due recognition in Russia, works Исканова in the USA are considered as "masterpieces of the Russian independent cinema».

So, we start our conversation.

- Andrey, first of all we wished to thank you that you have agreed to give interview to our blog. Tell, please, about itself – that has induced you, the professional photographer, to work on a cinema field?

I became the photographer only because always dreamt to do films. And during old kind time I began that did photofilms. That is the films consisting of consecutive series of production pictures.

Not that cheap dust named "photofilms" or "photonovels" which we can sometimes see on pages of magazines. Anything similar. All became better. With use of the difficult combined shootings (during that far time computers still seemed science fiction), it is a lot of effects, make-up, it is a lot of tricks, suits, actors, scenery etc.

In general, all became on conscience, without easy decisions. Therefore, even now all it looks at very high level. Therefore I think of translating these photofilms in a film mode, to sound and let out on DVD.

Work of the photographer (if you concern it with soul and creatively instead of as to serving of a labour duty) is capable to learn you to all practical bases which will be useful to you for creation of films. The person who understands nothing an art composition and does not see anything a beautiful still-life in creation or a portrait, does not own colour and light, on my deepest belief to make a high-grade film is not capable. Work with people also is very important both for the photographer, and for the founder of films. You should feel people, avoid (whenever possible) sharp corners and try to transform shootings into easy, pleasant process. Because shootings it always model or actor work and frequently rather heavy. To learn you to work with people: actors and models, work of the photographer also will help.

- Your first full-length picture "Nails" and the tape subsequent to it of "Vision of horrors» are a film cycle part «ГаллюЦиНогеНнН». Your plans concerning its continuation – whether will be still films of this cycle?

Everything, how much I remember, have been planned six or seven films for this serial. We have made two of this cycle and have decided to wait for possible improvement of a situation with financing of our projects. After all till now all my films are created on my own money. In 2003 "Nails" were only one of two or three films in Russia which have been drawn out not on money from the State budget …

I essentially am not going to ask money from domestic structures, let more dexterous and successful people in this plan are engaged in it. On me it is better to make an independent cheap film, than to run with the stretched hand behind various establishments and sponsors in Russia. At least it is humiliating.

The situation when I have come on reception to the director of one large regional television channel is still too fresh in memory and has suggested to cease to twist piracy copies of the American films and to render technical (even not financial) help in creation of the first Russian serial of horrors.

Why horrors? — The director has asked me.

Because in the technical plan it least затратный for you the genre, - has answered I. – practically it is necessary nothing for a horror, except ability of the director and several actors. And I all it is ready to incur. But certainly, it not the cheapest genre. Certainly, is and is even cheaper. A porno, for example.

I would make a porno is better, – the director has confidently answered.

And on it it was possible to consider conversation finished …

Whether there will be still films in this cycle? Will be, I am assured, and even already is. Alexander Shevchenko (known to the spectator on a role of the hired killer in "Nails" and the constant composer of my films) has just finished the short debut «Homunkulus» and will soon continue work on the animation version of the вампирского the novel "Remote places" which has been published several years ago in Ukraine.

One of my future projects «Angel dust» also will be made as a serial part «ГаллюЦиНогеНнН». But as it is fast it it will be financed by an American side while it is not known.

But already now, Дебби Рочон, known American the horror-icon, shows interest to participation in this project.

I would be glad to unite in the films of many remarkable American and European actors with which I maintain very warm, friendly relations. For example, actress Manush which outstanding work in «knife Philosophy» is difficult for underestimating.

I also plan to make continuation of a film "Nails" which uses very steady popularity. To tell the truth, today at us even more than the extremely interesting plots, than five-six years ago when we only planned this serial. Very probably, that in expectation of financing of larger projects, I will make some short-footage films for «ГаллюЦиНогеНнН». And the spectator can sometime get collection boxing-set with all films of a serial.

- Whence you take ideas for your tapes, in particular «knife Philosophies»?

It is impossible to take good ideas whence-nibud. They exist besides us and sometimes visit our imagination on an exclusive will of a foresight.

The world in general is full of ideas, but the few guess it. «Knife philosophy» it not fiction, and strongly forgotten fact from Second World War history. Namely preparations of Japan for possible war. So it has turned out, that I live in that city near to which existed notorious Unit 731. And so has coincided, that I was indirectly familiar with one of key eyewitnesses of these events, the former military translator and the graduate of Harbin medical university Anatoly Protasov.

Therefore, when I have more close familiarised with all accessible facts, I have there and then understood, that it is unique chance to make the most truthful and exact film about experiences over people in the end of the Second World War.

Certainly, style of "knife Philosophy» it not style of "Nails". It is ultra-realism and documentary research. To lower fiction level in this film, I there was a number of restrictions which all founders of historical or biographic pictures, as a rule, neglect. This time I wished to make not a surrealistic film, not a film of horrors, and a drama. For history Unit 731 is one of the most drama and tragical histories known to mankind. Certainly, there are not less tragical histories. For example, Stalin camp where the account to victims went on millions (if no more). Unit 731, with its three thousand killed «personal enemies of the emperor» for ten years of existence of group - such could not even dream. Well and certainly, German camp of death as which today some already consider as fiction and a fairy tale for children. Probably, will pass hundred or two hundred years and Unit 731, and Stalin camp, and death camp will be everywhere and are strongly forgotten, having passed in the category of myths. But today, I still have chance to tell to the spectator the facts about those events. And instead of removing invented history from a life of our contemporaries, I have preferred to make a severe historical drama half-and-half with documentary фактологическим the story.

- In your films it is a lot of violence. Whether you consider violence as the inevitable companion of mankind? How you estimate modern films of horrors – «пыточные» naturalistic pictures of type Hostel 1-2, film serial Saw etc., erecting violence in the absolute?

All history of development of mankind is a continuous chain of violence.

«The century is better for the historian, the for the contemporary is more sad». Actually without violence scenes children's fairy tales do not manage even. Simply it there is much less physiologic. So opinion that the majority of people chooses pure, light, kind, at least error. The facts speak about the return. For example, first part Hostel has easily surpassed in sales on DVD such expensive film as «Chronicles Нарнии», and has quickly become the absolute champion on sales.

But if you ask me I was shocked much more with a scene of murder of a lion from «Chronicles Нарнии», than all scenes of tortures from «Hostel». And business not in how it is realistic or the fact of tortures or murder is refined severely shown. And that the lion has been presented by the present, live hero (though it and was, certainly, digital). To such hero you empathize necessarily, though it and not the person, and a lion. And heroes «Hostel» it is easily recognised heroes of a film of horrors.

That is all difference in psychological trust. The digital lion from a fairy tale looks more live and human (and consequently also more touching), than live people from a modern film of horrors.

Spectators who see and appreciate only blood in films, do not see anything. Because blood at cinema, is simply red liquid. It cannot introduce anything drama, personal in a film. Therefore, if to the hero you empathize, it first of all a merit of the director and actors.

I do not wish to tell, that «Hostel» a bad film. At all is not present. Simply this film operates with violence scenes first of all from the decorative point of view.

The first Saw, by the way speaking, was poor on scenes of violence from the graphic party of a question. The violence in the first film was faster psychological, than surgical. In the further films of a serial this balance has been strongly simplified, besides in favour of the decorative party of films of horrors.

Whether erects this film and serial Saw violence in the absolute? It is difficult to tell unequivocally. Because it is films for enough mass audience. And if it is films popular in the wide spectator hardly they it is indeed boundless are severe. So брутальные it is necessary to search for films first of all in андерграундном a cinema because there authors have where большей and even practically boundless freedom of an embodiment of the ideas.

- Whether there is a hope all the same to see the Russian DVD-releases of your films or we are compelled to be content with what they left in the USA? By the way, when the American release of "knife Philosophy» is expected?

This question followed set to the Russian distributors. Followed ask these children, whether in a course they of what in general occurs in independent cinema in our country (and no less than all over the world), what is issued and with success is on sale abroad? And in general, followed about much ask these people because there is such impression, that in the majority, these snobs from the film industry people illiterate in set of questions.

Why, for example, at the American legal owner my films are in one catalogue together with films of Floor Моррисси, Тоба Хупера, Hershella Gordona Lewis and Уэса Крейвена, and in Russia licence distributors obstinately consider their unworthy release on the DVD-carrier?

«The knife philosophy», for example, will be soon shown on a film festival in Cape Town (republic of South Africa). Whether So it is time to Russia to catch up and overtake at least Africa? When last year a roller and two musical clips «knife Philosophies» have been shown at Petersburg festival which the Brawler spent «a film», the people, to put it mildly, have lost gift of speech from amazement. But here any business offers concerning hire or release in Russia for some reason has not followed. There is such impression, that the people in Russia are the most inert people in the world. He is interested in films and art, but only to what that of a certain limit. As a rule, further verbal demagogy do not go neither so-called distributors, nor so-called horrors-fans whom it is a lot of in a Runet. The first are glad to publish any dung if only it is made in the West, and the second amaze with the illiteracy in horror and cinema questions in general and strenuously support domestic pirates.

And the release of "knife Philosophy» in the USA is expected in the end of a year. Approximately in December or January.

- Whether was at you problems with release нецензурированных versions of your tapes in the USA? After all strict enough rating system created by Association of film manufacturers of America (MPAA) with which activity many American directors are rather dissatisfied there operates.

Such problems yet was not, but "Nails" and «Visions of suffering» were not films about violence, it were surrealistic films, films-dreams. All shown there was conditional enough. Therefore in respect of sales on DVD in the USA and Canada special problems with it were not. Though, if for example, the cover of any film of horrors looks too severe from the point of view of MPAA force to change and cover DVD.

Another matter, «knife Philosophy». Without exaggeration it is ONE OF the MOST SEVERE FILMS EVER MADE. Contrary to already developed opinion, we never named its MOST SEVERE (though very probably, that it indeed) because this point of view is enough дискуссионна. After all many perceive violence at cinema very much differently.

I think, that somebody in MPAA will suffice a stroke when they will see «knife Philosophy».

- Whether it would be desirable you to have a rest sometimes from psychologically difficult films and to remove unpretentious, but qualitative «мейнстримный» a film of horrors? It is assured, that at you it should turn out well.

It would be desirable, but one desire here a little. The set of different factors that to me have charged such project Should coincide.

Actually, I can work in any genre. I never go in cycles on something one. Different genres are interesting to me. I dream to make a comedy, a fairy tale or a documentary film about a life of animals. Why is not present?

I would not like to be reputed as the person who is capable to shoot only films about the changed conditions of consciousness and death. Though the death also was an unconditional theme in my two last films: «knife Philosophy» and «A glimpse of hell».

But how often our desires coincide with our possibilities?

- We know you as the representative of the independent cinema "underground" gravitating to surrealistic horrors of human reason. What directors or films have made on your creativity the greatest impact?

It is difficult to list everything, but the cores it: Дарио Ардженто (Inferno, Phenomena) to which films I especially many am obliged, Лучио Фульчи which focused attention on severe romanticism as anybody to it (Massacre time), Richard Stenli (Hardware), which itself was the successor of visual style Ардженто, Andrey Tarkovsky ("Solaris" whom I have looked for the first time in the beginning of 80-s' on the big screen).

- Your relation to a genre of horrors in Russia? Whether there are preconditions for its development in our country, and if yes, what?

It does not develop. It here simply is absent. Why that the soil in Russia редкостно is infertile for genre films. My personal opinion that after a communistic mode here still for a long time will grow nothing, at least, in the necessary direction. That appears on a surface, it, as a rule, a product of someone's enclosed money and someone's ambitions. That is ugly enough child. But there were also exceptions.

There was, for example, very good film «Упырь» with Serebryakov. Which words, but the extremely successful alloy of the western film myths about vampires and domestic realities were not a film of horrors literally. This individual example has been immediately cut from ruling film structures. And even till now it is not published on DVD! Absolutely незаслуженно the forgotten film.

Since then anything close (not considering, certainly, «Night patrol» which for not clear reason for me almost all classify as a horror) on quality in Russia it has not been made.

- What do you think of fashionable now in the West to a wave of films of horrors of category PG-13? Whether is it, in your opinion, profanation of all genre as a whole?

Film of horrors for family viewing it not a film of horrors. It is faster an awful film.

The aspiration to avoid sharp corners in mass cinema reaches paranoid phobias. It is impossible to please all. It is unreasonable to try to make a film both for pregnant mothers and for пирсингованных неформалов.

Certainly, all it becomes from desire to earn as much as possible money small blood.

But the plush horror is initially deadborn product.

And we should thank Ales Рота for it дилогию “Hostel” because its huge cash gathering can guide investors at correct thoughts and relieve us from morally castrated and to nobody of the necessary remakes «Омена», sequals «Resident Evil» and other consumer goods.

- Your opinion on remakes of films of horrors popular in due time. Whether they are necessary? Whether you began to do a remake if to you such offer has arrived?

As has told in due time Удо Кир: «Why do remakes only good films? Why do not do remakes of bad films?».

Really, take an unsuccessful film, but with an interesting plot and make it anew. Something probably, really will turn out outstanding.

If to me the offer has arrived to make a remake, I would make it. All these beautiful phrases, that I, say, have sent producers where far away with such offers, we will leave for theorists from horrors-forums. A reality and opinions of horrors-fans absolutely different things.

It is work and if I do not make it it someone all the same will make another. So is better I will make a remake of any film and I will make it so qualitatively and interestingly, as soon as probably. So that it was not a shame to me with the work. Always it is possible to make new perusal of classics, other question, that the classics can not require at all it. But it is solved by producers and if they make the decision on a remake of any film, it will be made a copy in any case. We only need to hope, that this work will entrust really talented person.

- What do you think of David Lynch's known for the not ordinary and phantasmagoric perception of world around pictures?

My films compare many to Lynch's early films. I personally consider, that between «knife Philosophy» and «the Person an elephant» is much in common at emotional, stylistic level.

Others believe, that «Visions of suffering» it is the Russian version «Eraserhead». It is difficult to me to judge it. At least, I never spent any parallels, but much echoes of creativity of Lynch in my works see.

Lynch does films-dreams both does not hesitate, and is not afraid of it. This already in itself a rarity presently.

I often use subconscious images. Symbols and own dreams, including dreadful dreams as a material for the films. Same uses and Дарио Ардженто. I think, everyone who will scoop inspiration in own subconsciousness, it will be a little similar to heroes of films of Lynch.

- Whether the genre «джиалло» is pleasant to you - after all in it such recognised masters, how Марио Бава, Лучио Фульчи, Дарио Ардженто worked?

To tell, that it is pleasant to me, means not to tell anything. I am enamoured in «джиалло»! And I dream to make «джиалло» a-film. I even tried to carry out such project in this summer, but circumstances have developed not quite favorably. I have a consent of excellent European actors which are ready to work together with me over «джиалло». There is a plot. There are people which will make a unique soundtrack in traditions classical «джиалло» films. I wished to remove it in Europe, but eventually why nobody is interested to make «джиалло a la рюсс»?

If it is read by interested persons, support this idea, and I can make such project for very small money.

- We understand, what a question enough uneasy, but nevertheless – your "five" of favourite films (it is not obligatory horrors)?

It is difficult to tell. Where it would be easier to me to name 500 favourite films, than only five.

But here they some from many:

Inferno

Hardware

Cypher

Late night shopping

Killing time

- What your creative plans for the near future and for prospect?

Advance. I have spent too much time for «knife Philosophy». In total it has been removed more than 60 hours of a material from which in a film remains only 4. But film creation has taken away four years, on a year in each hour of a film.

Now I should make up for the missed. I wish to make «Angel dust», I wish to make a sequel of "Nails", I wish to continue a serial «ГаллюЦиНогеНнН». Probably, that to me will suggest to make another's project under another's scenario. At least, to me have already sent the scenario. But as it is fast from the project has put will pass to concrete process of manufacture while to speak early. There was a hope to make a film sequel «Society». I think, Bryan Juzny's original film saw many.

I have read the scenario of a sequal and quite could undertake this work after end of "knife Philosophy». But not so long ago has expired term on the rights to an original film, and continuation any more will not be.

So, at present I am intended to make some short horrors-films for a serial «ГаллюЦиНогеНнН». Also has already begun work on the scenario of the first of them, which working name «The tourist».

Many thanks, Andrey, that you have found time for our blog. Sincerely we hope, that our interesting and useful cooperation will receive the development and further. All to you of successes in your creative activity!

Very much for a long time, in the student's years, one my friend has called me and has asked to arrive urgently to it – he has started to look on video any film of horrors and to it it became madly terrible (it was absolutely atypical for it – in general pictures of a similar genre it did not frighten that, as it to them was indifferent). However he very much wished to look through this film, but alone could not. I have arrived. So for the first time I have got acquainted with a tape «the Seventh gate of the Hell» and with its director – Лучио Фульчи.

The godfather of low budget Italian films of the horrors abounding with frankly bloody and sadistic scenes, Лучио Фульчи was born in Rome on June, 17th, 1927. After the short period of time of study at medical institute (here, probably, whence at it love to смакованию details of killing of people!) and works as the art critic it arrives in Experimental school of cinematography of Lukino Visconti where receives the diploma of a script writer. Having tried (without special success) the forces on a field of documentary cinema, he starts to write scenarios for such geniuses of a world cinema, as Роберто Росселлини, Federiko Fellini, Марио Бава and the same Lukino Visconti. The whole 15 years Лучио Фульчи has worked a script writer for the known Italian director specialising on comedies, Стено.

After a marriage, realising sharp necessity to contain a family (not each scenario well was on sale), Фульчи devotes itself to film direction. Its first film became "Swindlers" of 1959 which, despite participation in it of the most popular Italian comedian Toto, has failed in hire. From this moment up to 1969 Лучио Фульчи basically removed comedies, occasionally "diluting" with their westerns and parodies to films about James Bonda. It is remarkable, what exactly Фульчи has opened road to Adriano Chelentano's big cinema («Children and the musical automatic machine» 1959, «Shouters before court» 1960, «Any strange type» 1963). In its tapes acted in film legendary Ex Неро («the Colt has sung about death» 1966), the known Italian pop singer the Mine («Shouters before court»), eminent Ernest Borgnajn («the Bullet for Сандоваля» 1969) etc.

Probably having got tired of an infinite stream of comedies, in 1969 Фульчи removes atypical for itself a psychological thriller with drama elements, its first experience in джиалло, «distortion History» (or «One on another») which makes some success at spectators. However this year has appeared for it very heavy – the most personal film in creativity of the director of "Beatrice Chenchi" (he named its "fine") about hypocritical and repressive essence of Catholic Church in Italy has caused 17 centuries an indignation storm in a press and among cinema-goers (in Russian variant the film was called "Inquisition"). Business even has reached that on the prime minister of a picture in the Great Britain slogans «Death to the director sounded!» . In addition to it wife Fulchi mortally sick of a cancer commits suicide. He very much takes hard this loss – quite probably, that persecution from critics along with personal tragedy have predetermined its further sharp transition from comedies to the gloomy Gothic films full of horrors and inhuman violence.

Really, after these hard blows of destiny Фульчи removes one of the most interesting thrillers-dzhiallo «the Lizard in a female appearance» (it is still translated as «the Lizard under a female skin», but it seems to me, that it too a literal translation) in which propensity of the director to the description of frank sadistic scenes already starts to be shown. So, in one of film episodes dogs have been shown mutilated, but still live, suffering from a pain. As a result of Фульчи has appeared before court on charge in cruel treatment with animals, and it was threatened with prison term. Only intervention of the master on special effects of picture Карло Рамбальди ("King Kong" of 1976, "Stranger", "Alien") which has brought one of models of dogs in court and has shown it in work, has convinced jurymen of innocence Фульчи. However, all the same the training for a new profession of the director in «the master of horrors» is in the seventies given to it hardly – it again removes spaghettis-westerns («Four arrow of the Apocalypse","the Silver saddle»), comedies and parodies («Эротоман», «Дракула in a province","My daughter-in-law»), even addresses to a screen version of classics of the world literature («the White Canine","Returning of the White Canine» - both with participation Ex Неро). Nevertheless, during the same period he creates two more severe джиалло - «do not torment the duckling» (known in Russia as «the Flour innocent») and «Seven notes in black» (or "Psychic"). « Seven notes in black », being a quite good psychological thriller, nevertheless has failed in hire, however« do not torment the duckling »till now it is considered one of the best джиалло not only Фульчи, but also the Italian cinema as a whole. In it still there is no description of bloody details of murders, but some scenes really shock. It is characteristic, that this film about the pedophile-murderer bossing in a countryside in the south of Italy as well as"Beatrice Chenchi"throws down a challenge of Catholic Church, has a sharp antireligious orientation (despite aversion of Catholicism, Фульчи asserted, that it« the doubting person in search of the God »). This tape also has got to« the black list »and had only the limited hire in the countries of Europe. In the USA it in general has been forbidden to display at cinemas.

Лучио Фульчи has entered into the Universe of film horrors promptly and effectively – in 1979 it has removed grandiose and, probably, the most dreadful film in the film career (its later picture «Seventh gate of the Hell» can be compared to it only, but about it later) "Zombie" (in Russia it is let out as «Devourers of a flesh»). In this tape the director has to the full given vent to the unhealthy imagination – except geysers of blood, an abundance of a decaying flesh and certificates каннибализма the scene (it was included into the annals of a world cinema) slow was most remembered (!!!) протыкания eyes a chip from the broken door which has been removed by a close foreshortening. Atmosphere of all-consuming fear is underlined by the surprising music Фабио Фрицци, written themes for many pictures Фульчи, - it чарующе beautiful and at the same time oppressing (by the way, almost in all films of the Italian directors of horrors magnificent music sounds is their "trade mark"). It is remarkable, that the idea of creation of this film belongs not Фульчи, and to the Italian producers who aspired «to give the worthy answer» to ingenious product of American film director George Romero «Dawn of dead persons» 1978. The answer has turned out more than worthy – many film fans consider, that tape Фульчи, despite the small budget, in many respects surpasses creation Ромеро. Itself Фульчи in this occasion has told: « It (Ромеро) live dead persons are the derelicts living on boondocks of a society. It is revenge outcast a life … «the Dawn of dead persons» is a political film, a great film, but differing from my "Zombie" ». Really,"Zombie"(or named still« the Zombie 2 »that in the Italian hire picture Ромеро in edition Дарио Ардженто left under the name"Zombie") shows horrors for the sake of horrors, cruelty for the sake of cruelty. In it there are no high ideas, the spectator does not have necessity to search for any latent sense. Probably it also was pledge of stunning international success of a film at the public who have got tired of abstruse and highly artistic pictures. Thus it is necessary to consider that fact, that in the majority of the countries"Zombie"it was shown in цензурированной to the version, that is the most bloody episodes have been cut out from it (the director's version to these is forbidden in some states, in particular in the Great Britain, Germany, Norway etc.) . The main thing is that "Zombie" has begun a new stage in creativity Фульчи, to a birth and formation stage «the Maestro of Horrors».

Since this moment talent Фульчи starts to develop as professional director of films of horrors – one behind another it removes inimitable on the cruelty and skill «the City of live dead persons» (or «the Hell Gate»), «the House on the brink of a cemetery», «the Black cat» (on Edgara Alan Po's products) and, at last, «the Seventh gate of the Hell» ("Afterlife") - in my opinion, the strongest and impressing film in a life of this remarkable director. In a filmland this tape deservedly is considered indisputable masterpiece Фульчи. Surprisingly, but it has been removed all for five weeks at the 12-sentry the working day. The film grasps the spectator from the first shots and any more does not release it for a minute up to a final caption. The same as also other pictures Фульчи, «the Seventh gate of the Hell» abounds with disgusting and dreadful scenes – tarantulas eat round the person of the person, a dog выгрызает to a drink of the mistress, a shot in an emphasis takes down half of face of the girl-zombie etc. However except these sickening episodes in a film it is masterful expectation something inexplicable and improbably terrible is forced classical «саспенс». I should repeat the laudatory words to music Фабио Фрицци – in this case it was not simply ideally entered in a picture outline, but also itself became one of key elements of atmosphere of incomprehensible horror. Фульчи spoke about «the Seventh gate of the Hell»: «I задумка was to make an absolute film. It is a film without a plot, in it there are no logicians, only – a train of images». In this tape, as well as in many other things products Фульчи (see above), eyes become the main object of violence – them squeeze out, they get out of eye-sockets etc. It explained it as follows: «Their (eyes) need to be destroyed first of all. Because they saw too much bad». The talented madman!

The statement will be unfair, that in the eighties Лучио Фульчи has completely devoted itself to horrors. He tested and in other genres – the futuristic science-fiction insurgent («Gladiators of 2072» - something an average between «Роллерболом» Нормана Джуисона and «the Running person» with Arnold Schwarzenegger), a fantasy ("Gain" - similarity «Конана – the barbarian» besides with unforgettable Арни), a gangster film ("Smuggler" - extremely bloody tape, on level of violence not conceding, and places even surpassing film horrors Фульчи). However these tapes have been is cool met by public, and Фульчи again comes back to the favourite films of horrors. It removes pictures «New York eviscerator», «the Child from Manhattan» (in Russia – "Afflicted"), «the Dancing death», «Honey of the Devil», "Enigma", «When Алиса has broken a mirror» (or «a death Touch»), «Row Phantoms», «the Zombie 3» (in Russia – «Devourers of a flesh 2». All specified films are much weaker than early masterpieces of horrors Фульчи, however all of them are quite good and are interestingly looked, behind an exception, unless «the Zombie 3» which, in my opinion, is the most worthless tape of the great maestro. This film acted in film on the basis of the ugly scenario which Фульчи with daughter Camilla unsuccessfully tried to improve. After five weeks of shootings on Philippines angry Фульчи has refused to film further, and the director's armchair was occupied not skilled, in its opinion, with Bruno Mattei known at us «the Hell of live dead persons». Public has mocked «at the Zombie 3» though, by and large, it was more qualitative than similar films about the zombie of those years of other directors. Simply Фульчи so has overestimated a lath of the products, as itself further could not jump over it (as later it justified itself(himself): « I have made this film because to me are necessary there was money … from time to time to me too it is necessary to eat ». Nevertheless, this film is considered creation Лучио Фульчи, instead of Bruno Mattei. It is necessary to tell some words and about« the New York eviscerator »which even for Фульчи is too naturalistic and sadistic film. Besides, in it a lot of rather frank sensuality that was not so characteristic for its creativity (certainly, as well as any Italian director's it supposed presence of the bared nature and unambiguous situations, however here it has surpassed itself(himself)). All aforesaid concerns and« Honey of the Devil », a film, according to Фульчи,« about despair and садомазохистских sufferings ».

In the late eighties Лучио Фульчи co-operated with the Italian TV – within the limits of a serial «Fatal houses» it has removed two films «the House with hours» and «the Lovely house of horrors» which, unfortunately, televiewers and have not seen – they have been forbidden to display because of presence of too intense and bloody scenes. By the way, the well-known politician of Italy Silvio Berlusconi, the former prime minister and one of the richest people of this country was the producer of this serial nowadays.

In the early nineties, the last in creativity Лучио Фульчи, it has removed four more films – «Демонию», «Voices from a next world","the Door in silence"and"the Cat in brains"("the Dreadful concert»). «The dreadful concert» in spite of the fact that was not last film Фульчи (it is removed in 1990), became a swan song of the director. In this enough to original picture Фульчи has played a leading role – itself (even the name has not been changed), the director of films of the horrors, suspected of a series of severe murders. The amusing fact – before Фульчи, as well as great Hitchcock, practically in each film appeared in an insignificant incidental role. «The dreadful concert» has incorporated the most known scenes of violence and murders from its early tapes, and also from "horror films" and джиалло other directors. Фульчи has explained occurrence of this picture the following in the image: « If the director of films of horrors is tormented by nightmares it should transfer them on the screen ». In second half 90th years he wished to picturize Gaston Leru's product« Wax mask », even has taken part in a scenario writing, however was not in time …

All life Лучио Фульчи was full of contradictions. Being at heart kind enough and ironic person (itself characterised «soft and weak»), on shootings turned to the tyrant, the rough and unsociable person who is "squeezing out" of actors all forces to a limit. Such differences of moods, probably, have been connected about long years by illness tormenting it – a diabetes.

Фульчи often criticised for a misogyny as in its pictures basically women were exposed a different sort to tortures and mockeries. It resolutely rejected similar charges, asserting, that has grown in a family where there were many women whom he always loved and respected. Besides at Лучио Фульчи there were two daughters – Антонелла and Camilla which he idolised. He spoke: «… I do not love women only in that case when they are not present nearby … Thanks to the voice and charm the woman it seems to more fragile. It is the most suitable victim for a predator. But it can be deceptive. From time to time the woman can be strong, the winner, even the criminal».

Фульчи very unfriendly concerned other directors of films of horrors (exceptions made only Марио Бава, David Kronenberg, Аристиде Массачези and Клайв Баркер). In particular, it openly criticised (in my opinion, it is absolutely groundless) the colleague on genre Дарио Ардженто. «Дарио Ардженто – the great handicraftsman considering with the artist while Hitchcock was the artist who considered itself as the handicraftsman» is was still its softest statement to Дарио. Nevertheless, Дарио Ардженто became the producer of last picture Фульчи «the Wax mask». He even has agreed to postpone film shootings almost for a year because of progressing illness Фульчи (after death Лучио Фульчи «the Wax mask» nevertheless has been removed Серджио Стивалетти, the master on special effects of many films Дарио Ардженто).

The official criticism did not love Лучио Фульчи, naming it «the good handicraftsman». Except excessive смакования bloody details of the murders appearing in its films, to it in fault the hobby for plagiarising was put. Really, many episodes from tapes Фульчи practically in all details repeat scenes from works of other directors (the corpse immured in a wall from «Seven notes in black», "is borrowed" from tape Ардженто "darkly red"; murder by a dog of the mistress from «Seven gate of the Hell» to identically similar scene from «Суспирии» again the same Ардженто etc.) . Even a known episode «a chip in an eye» from «the Zombie 2» (see above) can be compared to a scene of cutting of an eye from «the Andaluzsky dog» Luis Bunjuelja and El Salvador Distances! And such examples uncountable set. However art Фульчи has no anything the general with plagiarising – repeating in the products the moments from other films, introducing in them something personal, characteristic only for the creativity, it thus paid a tribute of respect to other talented directors, showed original continuity of films of horrors.

It is impossible to agree with statements of some domestic and foreign biographers Фульчи that lives it has spent last years in «inactivity and oblivion». On the contrary, Фульчи accepted active participation in the various international forums devoted to films of horrors, including conferences «the Week end of horrors» in New York organised by magazine "Фангория", a film festival «ФантаФестиваль» in Rome etc. Everywhere met him crowds of admirers, special displays of its films were devoted to it. In 1996, shortly before death, together with daughter Antonelloj he even has acted in film in a picture of friend Massimo Lavanini, a parody to films of horrors "Sik-about-patija". The interesting fact – Лучио Фульчи not so loved, when its pictures named films of horrors. It defined them as «fantastic films».

It is impossible to underestimate creativity Лучио Фульчи. It has brought the powerful contribution not only to development of a film aesthetics of horrors, but also a world cinema as a whole. Along with such talents as Марио Бава and Дарио Ардженто it by right it is possible to name «the Maestro of Horrors» without whom now it is impossible for itself to present modern motion picture arts. Фульчи spoke: «Cinema for me all. I live and I breathe films – I even eat them». Except direction Фульчи very much took a great interest in a jazz, in a youth often played music. He is an author of three books – autobiographical «Фульчи breaks a mirror», «My favourite monsters» and «Hunting for the fallen angels».

Лучио Фульчи has died on March, 13th, 1996. Even his death is covered by a certain veil of mystery – before laying down to sleep Фульчи for some reason has not accepted insulin (as it was the diabetic, before a dream the insulin prick was necessary for it). One began to put forward at once assumptions, that Фульчи has purposely died, others considered it as accident.

Лучио Фульчи always said, that our reality where is the more terrible and most awful than that it has ever removed.

At a writing of article the author was guided by materials of Internet site IMDB, books «Behind a gate» Чаза Балуна, "Spaghettis-horrors" Onions Пальмерини and Гаэтано Мистретта.

History of a life of great director Alfreda Hitchcock in magazine «That remembered».